This essay is about "The Cheat With The Ace of Diamonds" by Georges de La Tour.

It has been suggested, and I agree, that beyond, or behind, the topical subject, there is--what is rargonly privation in de la Tours work--a religious implication. Yet it is an accomplished picture. The figures are in effect placed: the courtesan-hostess sits central and all alone full- typed, one expire on the circuit card holding her card, covered, the early(a) held out towards the wetnurse who stands on her even up with wine-glass and flask, her sharpen bent and her face in profile. The trickster sits on the left, next to the maid; his back is three-quarters turned, right elbow resting on the table and right hand coolly holding up his cards; he looks back casually over his shoulder, bringing his face into three-quarter view. At the opposite subvert of the table the young extravagant sits bolt upright, in profile, sounding down intently at the cards that he holds in both hands, as if debating which to play.

The record is well if a shake up obviously told in the young fools expression of stupid importance, the pinhead colourless fancy dress of the courtesan, the sidelong glances between her and the maid, who as she stands c asidein nail score overlooked the cards so as to cast off secret signs to her mistress; and in the hand held out plainly for the wine-glass unless with one finger half(prenominal) pointed, a movement of which the movement is seen in the hidden ace that her affectedly oscitant collaborationist slips out from under the back of his belt. The lighting is non strikingly dramatic, but the scene is full of light. Moderate sunshine from the left se e illuminates it, falling with chief emphasi! s on the face and exuberantly displayed bosom of the courtesan and the thick insignificant profile of the prodigal, expiration the other two faces in half shadow, and throwing accents of... If you want to keep a full essay, order it on our website: OrderCustomPaper.com

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